Writer
Amalia SH is a lawyer from the Legal Aid Institute. He visits his best friend, Frans, who is being held for extortion. Frans doesn't want to be defended. Amalia is curious. From the results of his investigation, she found Frans's diary at his parents' house. From the diary it was concluded that Frans had been naughty since childhood, his father had kicked him out for stealing. He then lived a vagrant life, until he was accommodated to become a debt collector in a company. It is in this job that he becomes acquainted with and befriends Bambang and Amalia. Frans secretly loves Amalia but doesn't dare to tell it.
Screenplay
Four teenage girls from high school classmates form a gang that emphasizes solidarity.
Writer
Shot in dark colours and with an atmospheric treatment, the narrative is sketchy but the plot revolves around Koswara, a driver for Kardiman. Koswara’s brothers and sisters-in-law trade his wife, Aisah, to Kardiman, until his wife goes insane and dies. Agus Herman, son of Kardiman, is as brutal as his father and Mrs. Kardiman, also has an impure background. Her daughter, Nana, who is born without knowledge of her biological father, is almost raped by her stepfather, Kardiman. It is also suggested that Mrs. Kardiman desires Koswara. An experiment from Indonesian directing legend, Teguh Karya, that was not entirely successful.
Writer
Bram and Nona marry without her parent’s approval, as she is already arranged to marry Paul. The life of the husband and wife is only supported by Bram’s small salary so they live in the slums, which is realistically depicted. They also have problems with Nien, Bram’s old unmarried sister.
Runtu
Set in 19th century Batavia, within the community of Portuguese descendents, Amallo has issues withhis father, Umbu Kapitan, because his irresponsible behaviour has led to his mother’s death.
Screenplay
The story begins with a commotion in court during the trial session of a wild girl who was involved with pornographic photos when a former nurse appeared to reveal that the girl was the daughter of a famous tycoon in Jakarta. Meanwhile, the rich man's daughter who had just gotten married was the biological child of the wild girl's mother, who was a prostitute. The two were exchanged when their newborns were in the hospital. This melodrama is the first film in the Malaysia-Indonesia joint venture 'Bayi' Trilogy, before BAYI TABUNG (1988) and DIA BUKAN BAYIKU (1988). It is the first film under a special project, FILEM USAHASAMA MALAYSIA-INDONESIA initiative of FINAS (Malaysia) and P. T. Perfin (Indonesia) which started in the mid-1980s to the early 1990s-an effort that has produced a number of films of various genres. This project was born out of the failure of the Film Exchange Scheme project between FINAS and P. T. Perfin to screen Malaysian films in Indonesia.
